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Monday to Friday from 10:00 to 13:30 and from 17:00 to 20:00 and Saturday: 10:00 to 13:30hIn 2020, our store close for holidays the following days: January 1st and 6th; April 9th and 10th ; May 1st, 2nd and 15th; August 15th; October 12th; November 2nd and 9th; December 7, 8th and 25th.
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If the product is in stock the delivery is immediate. Otherwise, the fabrication time is 3 working days
Description:
He excelled in the most serious, solemn palos of Gypsy origin (often known as Cante Jondo), like Tonás, Martinetes, Soleá, and Siguiriyas, of which he recorded all or most of the traditional songs and variations. The value of his artistic legacy is controversial. On the one hand, some flamenco fans and critics consider him to be a model to imitate, an impersonation of the most authentic flamenco, and a restorer of traditional forms. On the other hand, others disregard him as excessively orthodox, academic, and cold, and regard his views on flamenco as paralysing and a threat to the future evolution of the flamenco art. They also often accused of ethnical bias, as he tended to overemphasize the quality of flamenco styles which where of Gypsy origin, while looking down to anything non-Gypsy.
It is frequently stated that some of the songs he rescued from oblivion had in fact been created by him, although he always denied it, as he believed that in flamenco there was no scope for new creations, and modern singers had to limit their work to the traditional songs inherited from the tradition. However, many of the songs he rescued are now part of the usual repertoire of flamenco artists.
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He excelled in the most serious, solemn palos of Gypsy origin (often known as Cante Jondo), like Tonás, Martinetes, Soleá, and Siguiriyas, of which he recorded all or most of the traditional songs and variations. The value of his artistic legacy is controversial. On the one hand, some flamenco fans and critics consider him to be a model to imitate, an impersonation of the most authentic flamenco, and a restorer of traditional forms. On the other hand, others disregard him as excessively orthodox, academic, and cold, and regard his views on flamenco as paralysing and a threat to the future evolution of the flamenco art. They also often accused of ethnical bias, as he tended to overemphasize the quality of flamenco styles which where of Gypsy origin, while looking down to anything non-Gypsy.
It is frequently stated that some of the songs he rescued from oblivion had in fact been created by him, although he always denied it, as he believed that in flamenco there was no scope for new creations, and modern singers had to limit their work to the traditional songs inherited from the tradition. However, many of the songs he rescued are now part of the usual repertoire of flamenco artists.
SongsDisc 1
1.La mulilla (Bulerías)
2.Tanto llamar (Seguiriyas de los puertos)
3.Mañana me voy (Tangos)
4.Por tu causa (Soleares de Cádiz y Jerez)
5.Tres cuadros (Tanguillos)
6.A mis enemigos (Seguiriyas de Cádiz y los puertos)
7.Los llaman (Giliana)
8.Me muero yo (Seguiriyas de Triana)
9.Alevántate (Tonás)
10.Romande de la princesa Celinda (Corrida)
11.Gitana pura (Bulerías)
12.Los pasos (Seguiriyas de los puertos y Triana)
13.En Santa Ana (Tangos de Triana)
ArtistsPalosWho bought these items, bought as well:
